I Know That Voice Page #6

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it's kind of

Edward G. Robinson-ish.

Or anyway,

or the Mel Blanc imitation

of Edward G. Robinson.

Moe is a bad version

of Al Pacino.

Uh, so yeah, but you know,

they... they're imitations to me

but they come out

as character voices.

I was just thinking

what a good parking job

I did with it.

Yeah, hey, that is nice.

Hey Lou.

Lou, check out

that park job in 7A.

Woo-hoo, that's sweet.

There's always

that fun game of going

"Who is that? Who is that?"

or listening to commercials

and hearing a voice and going

"I know who that is. "

"You're on SpongeBob?"

I love that, I love the fact

that they don't know it.

I'm Mr. Krabs,

what do you mean,

you don't know?

I love, like, the look

in the little kids' eyes

when they find out

and they say, you know,

"Can you do the voice?"

Which happens nearly every day.

And sort of the way

their eyes pop.

Bobby kinda sounds

like this, Larry.

Are you a Jewish fellow?

That's so interesting.

I do love the fact

that Nancy Cartwright

is a woman and she plays

Bart Simpson.

And it freaks kids out.

Kids'll say to me,

"Do Bart, do Bart!"

And if it's a little guy

I'll say, "Close your eyes"

because, come on, I'm a chick.

I don't have nine spikes

on the top of my head,

I'm certainly not 10 years old,

but, you know,

for a little kid,

close your eyes,

"Hi, I'm Bart Simpson.

What's happening, man?"

All you hear,

all you need, really,

is the sound, right?

I think it's great.

On camera I'm pretty

much limited to,

you know, what you see here.

I mean, you could put me

in old age makeup

and I could play

an older version of myself,

but uh, you can't put me

in young makeup and make me,

you know, 10 years old again,

but I can play 10,

you know, in a cartoon.

I can easily do that.

I can play, you know,

an older version of myself.

You know, I could play...

I could play

a female if I wanted to.

Doing a show

like "American Dad"

we have such enormous casts

every single week

and because we can't, you know,

be using 20 or 30 actors

we have to do a lot of...

we have to fill in and do

a lot of different characters.

So I've gotten over

the last eight years

to really be able

to stretch my range

and really get

an opportunity to do things

that I wouldn't

normally have gotten to do.

Animation I think, now for me

takes the place of stage.

Because stage I could do

lots of different characters

that I would never

get cast on on film,

but it's like, stretching.

You know,

you can stretch on stage

and do, you know,

very bizarre old men

or young... young women or boys

or whatever you wanna

do on stage,

you do the same thing

in animation.

Everyone's kinda got

a little... a little bag

of tricks, a little cart

that they bring

around with them, actually.

At least, that's how

I look at it.

You know, occasionally

someone needs a...

Like a pig, but...

but that could be...

You can open up

the chambers in your throat

to make it larger.

And you can... you can modify

the column of air.

You can just squinch it up

there in all these

just horrific kinds of ways.

What, you want

a Jewish baby? Right?

What do you want,

an Italian baby?

Say, that works swell.

The dolphin.

The dolphin-esque laugh.

I always loved Droopy.

He's always a very

fascinating character for me.

Isn't that rather

fetching, cap'n?

And yes, I have to do that.

It hurts after two hours,

but that's all.

Well, I can do him

sort of like that,

but it's a little,

it's a little easier

if I take my jowls and go...

And then Jamie Thomason,

the director at the time,

he said, "Try one. "

And I, you know,

I remember laughing, going,

Well, it does sound a little

better with just one

and it's not too much that way.

Not too bubbly and yet

just bubbly enough.

Aye-aye cap'n.

Set 'er down, boys.

Daws also talked

about physical.

When he did Yogi Bear,

he would stick his chest out.

That's how he did it.

What I teach my students is

if you physically play

the character

the voice will follow.

When I do Joseph

my fingers always go out.

And the sound guys

you can hear this because

there's this noise

in my fingers,

and I never do this

in my daily life.

A lot of it comes out

of, you know,

"Bobby, I'm not... "

and it just happens.

And we do Ackbar on

"Robot Chicken" it is this.

It's because, you know,

Ackbar's always,

"It's a trap"

and he's doing this.

I remember with Rocko

to get into character

it might be, "Oh my"

I'd sort of literally

put my hands together

because that's how

they animated it, "Oh, my. "

You don't necessarily

have to cross your eyes,

because nobody will see that,

but for me, it helps

to get into that real dumb

kinda guy.

You're not separated

from your voice.

Your body's do... your body

does the work as it will.

You see them all doing,

you know,

you're in the character,

your body can't help

becoming the character

and you can't sit there and go,

my voice is doing this.

You know, it's like

I see Doofenshmirtz up there,

I record the voice,

he comes out there

and as soon as the voice

is attached to those drawings

that's just his voice to me.

And the first time I saw

a video of me doing it I...

my first thought, literally,

was, "That's not what"

I pictured that guy

looking like. "

Volition is our ability

to choose what

we are going to do.

Whereas evolution,

that's got something to do

with monkeys, I think.

To be or n-n-n-n...

the opposite.

Tha-the-that is

the question, folks.

They got a dime a dozen

people who can say

"What's up, doc",

"I tawt I taw a puddy tat,"

"That's all folks. "

If you can do Shakespeare

as Porky Pig

or Sylvester the cat

and stay in character,

you probably can handle

the script for the movie.

I'm not trained in this

so forgive me.

All the world's a stage.

And all the men and women,

merely players.

They have their exits

and entrances.

And one man in his time

plays many parts.

His acts being seven ages.

At first the infant.

Mewling and puking

in the nurse's arms.

Doesn't sound good

to me, folks.

And then a whining

schoolboy with this satchel

and shining morning face.

Creeping like snail

unwillingly to school.

And then the lover.

Sighing like furnace.

With a woeful ballad made

to his mistress' eyebrows.

I don't know why he's

talking to the eyebrows.

It's a strange place

to talk to.

But there you go.

And a soldier.

Full of strange oaths

and bearded like the pard.

Oh, a bearded pard.

Jealous in honor,

sudden and quick in quarrel,

seeking the bubble reputation

in the cannon's mouth.

And then the justice

in fair round belly

with good capon lined.

With eyes severe

and beard formal cut.

Full of wise saws

and modern instances, yes.

And so he plays his part.

Sixth age shifts into the lean

and slippered pantaloon.

How would you like to slip

into a slippered pantaloon?

That's very naughty.

With spectacles on nose

and pouch on side.

His youthful hose.

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